Interest in the Langmuir-Blodgett (LB) technique has led to a number of investigations into different types of materials that can be deposited in the form of monolayers. For example, as well as the classic long Cham fatty acids and alcohols, materials such as polymerisable molecules, aromatic hydrocarbons and dye substances can now all be produced in monomolecular form. Unfortunately, few of these materials yet fulfil the requirements of mechanical and thermal stability that will be necessary if LB films are to be used commercially. This work has dealt with the use of phthalocyanine, a substance well known for its thermal and chemical stability, in the production of LB films. Initially two compounds were investigated, dilithlum phthalocyanine and tetra-tert-butyl phthalocyanine. Although it was found that both materials produced layers of reproducible quality which adhered tenaciously to various substrates and to each other, single monolayers were not obtained. More success has been achieved using an asymmetrically substituted phthalocyanine molecule. Electron microscopy studies have shown that the majority of films are polycrystalline. However, a substitute CuPc proved to be a valuable exception. Multilayer films of this molecule were found to have domains of the order of 3 mm in size showing a preferred orientation. Even so, it has to be accepted that the phthalocyanine films produced to date are not as structurally perfect as for example, multilayers of lo-tricosenoic acid. Our ability to produce monomolecular layers of phthalocyanine now extends the range of possible applications for this material. For instance it is known that the fine control of insulator thickness is crucial in the optimisation of photovoltaic and electroluminescent metal-lnsulator-semlconductor devices. Examples of both types of device have been demonstrated using our phthalocyaine films. For the bistable switch, a gallium arsenide substrate was used; both gallium phosphide and zinc selenlde have been utilized in the electroluminescent structures. Moreover, In the case of phthalocyanine another possibility presents Itself. It has long been known that the conductivities of this material and its derivatives are very sensitive to the presence of certain gases, particularly the oxides of nitrogen. The increased conductivity of such materials has been demonstrated to be confined to the surface of the crystal. Hence many phthalocyanine gas detector systems have been based on thin films. Unfortunately because phthalocyanine exhibits polymorphism, the exact structure of such films can be complicated. making interpretation of results and subsequent device optimisation difficult. Also the response and recovery times of these thin film devices can also be excessively long. It is possible that monomolecular LB films of phthalocyanine could well overcome some or all of these problems. Our experiments have concentrated on asymmetrically substituted copper phthalocyanine and its usefulness to detect nitrogen dioxide. Preliminary results show the response and recovery times for the simple gas structures to be faster than those previously reported for other thin film phthalocyanine devices. It is suggested that this is due to the more ordered structure of the LB film, which enables the gas to adsorb on, or desorb from the molecular sites more readily.

Le studio de la Tôei Dôga, fondé en 1956, est dans le Japon d’après-guerre tout à la fois le creuset d’une certaine conception de l’animation, le cœur de la formation d’une grande partie des techniciens qui vont soutenir l’industrie, mais aussi le lieu d’émergence, d’intégration et de réinvention de l’animation japonaise. En effet, si Hiroshi Ôkawa, qui dirige le studio jusqu’à sa mort en 1971, cherche à définir la structure comme le « Disney de l’Orient », le modèle américain, avidement recopié, a aussi été rapidement mis de côté, pour donner lieu à de nombreuses réinventions, appropriations et innovations technologiques. Etudiées d’un point de vue esthétique et technique, grâce à la conjonction de l’analyse formelle des films et de la prise en compte systématique des témoignages et des documents de production, ces innovations donnent à voir un processus de réappropriation du médium qui touche de près à l’histoire des techniques. Un enjeu important, dans le cadre de ce travail, consiste également à replacer aussi précisément que possible la production animée dans l’environnement économique et culturel de son époque. Ceci ne prend cependant pas nécessairement la forme d’une approche purement culturelle, mais cherche plutôt à conjuguer, grâce à des outils empruntés à l’histoire de l’art et à l’histoire culturelle, la matière filmique et la mise en question de son « contexte ». Si l’enjeu central de cette thèse aura été de définir, sur un plan esthétique et technique, une histoire de la production animée raisonnée et fondée sur une étude précise des documents disponibles, il apparaît que ses conclusions mettent en jeu les différents modèles de production traversés successivement par la Tôei, comme autant de propositions artistique, politique et stratégique, de ce que peut être le cinéma d’animation. / The Tôei Doga studio, founded in 1956, is the place in post-war Japan where was developped a new conception of animation, trained a large part of the technicians who will support the industry in the next decades, but also the place of emergence, integration and reinvention of Japanese animation. Indeed, if Hiroshi Okawa, who will run the studio until his death in 1971, seeks to define the structure as the "Disney of the East", the American model, eagerly copied, was also quickly set aside by Tôei, a process originating many technological innovations. Studied from an aesthetic and technical point of view, through a combination of a formal analysis of Tôei Dôga’s production from 1956 to 1971 and the systematic consideration of the animators’ testimonies and production documents, these innovations make a process of appropriation of the medium visible, questionning the history of technology. A crucial issue in the context of this dissertation also includes replacing as accurately as possible Tôei Dôga’s production in the vibrant economic and cultural environment of its time. This however does not necessarily involve an approach similar to that of cultural studies, but is rather seeking to combine, with tools borrowed from art history and cultural history, film material with the questioning of its "context." If the central issue here has been to implement, on an aesthetic and technical level, a history of the animation production process based on a careful study of available records, it appears that Tôei’s successive production models involve many artistic, political and strategic suggestions of what animation may be.

Traditionellt ges information på museum ut skriftligt, dock i vårt arbete belyser vi hur man kan visualisera samma information med hjälp av filmteknik. Vi undersöker olika alternativ gällande berättande där en händelse från förr blandas med nutid. Hur kan information förmedlas genomt ett visuellt perspektiv? Denna undersökningen har använt en kvalitativa metod då vi inte strävar efter ett mätbart resultat utan experimenterar inom ett visst område. Som hjälp inom vår utforskning av områden så används “The Good Eye” som en analysmetod och litteraturstudier samt en semistrukturerad intervju. Enligt våra genomförda intervjuer blev resultatet att visuell information förmedlas tydligare till åskådaren gentemot textlig, men löper risken att åskådaren går miste om viktig kontextuell information som inte går att visa visuellt på en plats, exempelvist karaktärsbakgrund och föremåls information. Dock föredrog majoriteten att presenteras med något visuellt gentemot textligt. / In the traditional sense, information at museums is published in writing. In our work we shed light on how to visualize the same information with the help of film technology. We explore different alternatives regarding storytelling where an event from the past is mixed with the present day. How can information be conveyed through a visual perspective? This study has used a qualitative method as we do not strive for a measurable result but experiment in a specific area. To help in our exploration of areas, “The Good Eye” is used as an analysis method and literature studies as well as a semi-structured interview method. According to our interviews, the result was that visual information is conveyed more clearly to the viewer in relation to text, but there is a risk that the spectator misses important contextual information that cannot be displayed visually in a place, such as character background and object information. However, the majority preferred to be presented with something visual versus textual.